清末民初鉴藏家裴景福对历代青绿山水画的鉴藏及其原因

【作者】 吕圜；

【导师】 尹吉男；

【作者基本信息】 中央美术学院 ， 美术学， 2008， 硕士

【摘要】 本文考察了清末民初鉴藏家裴景福的书画鉴藏活动,关注的中心问题是其对青绿山水画的鉴藏情况。青绿山水画是中国早期山水画的主要形式之一,在唐代和宋代取得了巨大的成就。元代,水墨山水画获得巨大的发展,成为文人抒发内心情感的重要形式。明代董其昌提出“南北分宗论”,青绿山水画被归为“非吾曹可学”的北宗而受到贬抑。董其昌的理论对后世产生了极大的影响,水墨山水画成为画坛主导,青绿山水画则逐渐衰落。清末民初之际,裴景福开始关注并收藏青绿山水画。裴景福为什么关注并收藏青绿山水画?仅仅是其个人的兴趣还是与当时特殊的时代背景相关联?裴景福是一个个案,还是代表了当时一批鉴藏家?这种鉴藏对画坛有无影响?本文以为,裴景福收藏青绿山水画的主要原因有三点:第一,裴景福在广东任职期间,受到南方藏家审美趣味的一定影响。第二,清末民初社会环境及人们心态的发生了巨大变化,青绿山水画绚烂的色彩较之平淡含蓄的水墨画具有更强的视觉冲击力,一定程度上可以满足当时求新、求刺激的心理。第三,青绿山水画中包蕴着相当多的中国画技法。从青绿山水画中精研中国画学古法,是从传统艺术的内部寻求创新发展的一条途径。与裴景福同时期或稍后的鉴藏家,如顾麟士、吴湖帆都较注重对青绿山水画的收藏和研究,并亲身实践。金城领导下的中国画学研究会亦关注青绿山水画,并逐渐把用功的方向转向北宗山水,或致力于南北融合。裴景福对青绿山水画的重视与鉴藏并非个案,具有一定的代表性。青绿山水画的鉴藏对画家从传统中寻求中国画发展新机具有重要的意义。更多还原

【Abstract】 This thesis focuses on the connoisseurship and collection of blue-green paintings of connoisseur Pei Jingfu, who lived in the period of late Qing Dynasty and early Republic of China. Blue-green landscape painting was one of the main forms of early period of Chinese landscape painting. In Tang and Sung Dynasty, blue-green landscape painting made great achievements. However, ink landscape painting, as one of the important forms of expression of inside sentiment of scholars, gained huge development in Yuan Dynasty. It is Dong Qichang, one of the most import figures in the history of Chinese painting, who advocated the theory of NanBeiZong, which argued that blue-green landscape panting which belonged to BeiZong was not good for scholar painters. Dong Qichang’ s theory had greatly affected the produce of landscape painting in late Ming Dynasty and Qing Dynasty. After Dong Qichang ink landscape painting developed greatly. On the contrary, blue-green landscape painting gradually fell into a decline. Why connoisseur Pei Jingfu collected blue-green landscape paintings in the period of late Qing Dynasty and early Republic of China? Whether or not the connoisseurship and collection of blue-green landscape paintings influenced painters in that time?The thesis wants to argue that three reasons due to the collection of blue-green landscape paintings of Pei Jingfu. The first was the taste of the connoisseurs of South China. The second, society changed a lot, the splendid color of blue-green landscape painting accommodated people’ s curiosity compared to ink landscape painting which was simple and quiet. The third, there are many ancient skills in blue-green landscape paintings. Painters could search new way to develop landscape painting by learning and studying blue-green landscape paintings. Some other connoisseurs, such as Gu Linshi, Wu Hufan also collected and painted blue-green landscape paintings. Painters of Chinese HuaXueYanJiuHui, leaded by Jin Cheng, began to learn the style of BeiZong landscape paintings and study blue-green landscape painting. The connoisseurship and collection of blue-green landscape painting was important to painters who dedicated to develop landscape painting.更多还原